look at that shot where they're silhouetted, they're two dimensional giants in a monochromatic world in a sunrise/sunset state. wow. and it appears to be a key aesthetic motif. the expansion of dimensions taken to thematically consistent directions with the also recurring top-down shots. it's God, sure, whatever, but it's also the story of this dude who had a perspective greater than those around him. it's interesting then when Winstone challenges him with "i have men standing BEHIND me" (emphasis mine), as in that's all he can see. and then when crowe says i'm not alone, it's because he has access (delusional or otherwise, but coincidence makes believers of us all) to another dimension. Aronofsky is taking this story seriously AS A MYTH, and using it to create one of his own, the trailer is full of these indications.

so it seems a bit narrow minded to expect a really intelligent director to make a dumb movie. don't be one of those people. read the articles on the previous pages and see that he was given a LOT of creative control. but of course now that he's produced the real deal, something BIGGER than a mere bible story, that the studio is getting cold feet.. because america is fucking stupid. blame yourselves... especially if you really think this is just a "serious" version of a bruce almighty sequel.

my only problem, and this speaks to how the studio is handling its presentation.. what the hell is up with "the most remarkable event IN OUR HISTORY" (emphasis mine).. i understand that like any fictional story the characters themselves have to believe in their reality, and that they're playing this for quasi-real.. not FULLY real as aronofsky said in the articles previously posted, but are they actually trying to present this to us as LITERALLY real? like of our own universe?

that's completely insane and not what aronofsky was aiming for as far as i've understood. he's obviously a mother-loving jew, but he's no creationist. he knows this is just an interesting tale that gives the opportunity to tell an apocalypse and an origin story. how many apocalyptic films are so ambitious? they mostly just want to see things destroyed.

the end is nigh for cinema if movies like this get no support from film lovers while stinking turds like This Is The End are praised. (key difference and explanation.. because the latter is utterly meaningless to the point of idiotic).

look at that shot where they're silhouetted, they're two dimensional giants in a monochromatic world in a sunrise/sunset state. wow. and it appears to be a key aesthetic motif. the expansion of dimensions taken to thematically consistent directions with the also recurring top-down shots. it's God, sure, whatever, but it's also the story of this dude who had a perspective greater than those around him.

I wonder if those shots are a reference to The Greatest Story Ever Told, which featured similar silhouetted shots. Kind of unusual for biblical epics back in the day, which tended not to look so dark.